Demi Lovato is exhausted, but — looking effortlessly glamorous in a white, furry jacket — you’d never be able to tell as she lists her current favorite women in pop music. “Zara Larsson, of course,” she tells Billboard. “Adela. I’ll always be a huge fan of Lady Gaga. Sabrina [Carpenter]’s great.”

“Oh God, I’m trying to think of who else,” the singer continues. But it’s nearly midnight, and the post-show brain fog is taking over. “Sorry, I just played a concert.”

We’re standing backstage at New York’s Madison Square Garden — which Lovato just headlined for the first time in their career on Friday (April 24) — as the star snaps photos with about a dozen fans during a quick meet-and-greet. All of them have noticeably clean-smelling breath as they exhale incredulously when she first enters the room, thanks to brand partner TheraBreath, which provided samples of Lovato’s favorite mouthwash at the gathering.

“I mean, all the pop girlies are great,” adds the equally fresh-breathed performer, who, just a few years ago, probably never would’ve thought that she’d be considered among those same proverbial Main Pop Girls.

After distinctly switching to rock music on 2022 album Holy Fvck and declaring their pop music dead — literally, Lovato held a funeral — the hitmaker switched right back in October 2025, releasing It’s Not That Deep, a Billboard 200 No. 9 LP of electronic dance-pop bangers. Earlier today, she unveiled the deluxe version, It’s Not That Deep (Unless You Want It to Be), featuring eight brand new songs, including “Low Rise Jeans,” which fans went crazy for when Lovato debuted the sultry track on the opening night of the It’s Not That Deep Tour.

Lovato tells Billboard that they think the new songs “add so much” to the already deeply (no pun intended) meaningful It’s Not That Deep era.

“They are great additions to the body of work that was already created,” the vocalist continues. “I knew I wanted to get back into the studio after I released the album. We started working on these songs — I think ‘Pretty Catatonic’ was the first one that came out of that writing process, and I fell in love with it. It just kind of unfolded from there.”

At MSG, Lovato kept the crowd energized with a mix of It’s Not That Deep standouts and older smashes, including Billboard Hot 100 hits “Heart Attack,” “Sorry Not Sorry” and “Cool For The Summer.” She also had two surprises in store for the New York City crowd, singing “Too Little Too Late” with special guest JoJo before performing live for the first time ever with husband Jutes. (They adorably belted “Iris” by the Goo Goo Dolls, which was the couple’s first-dance song at their wedding.)

At opening night in Orlando, Florida, Lovato treated the crowd to a performance with one of their first major duet partners: Joe Jonas. The duo belted out beloved Camp Rock classic “This Is Me” ahead of Camp Rock 3, which both are executive producing. It’s one of several throwback programs Disney Channel has been green-lighting from Lovato’s era; Selena Gomez, who attended that Orlando show and reunited with her childhood friend backstage, has been involved in an ongoing Wizards of Waverly Place reboot, while Miley Cyrus recently unveiled her Hannah Montana anniversary special.

“I think the age that we’re at is really loving nostalgia right now,” Lovato tells Billboard. “For all the people who are in their 30s and have lived through the Disney era with me, Selena, the Jonas Brothers and Miley, they’re craving it, and it’s fun to go back and relive those moments.”

Lovato says that the public’s hunger for that Disney Channel golden era has also allowed the stars to reconnect with each other and rekindle old friendships. “Oh, definitely,” she adds. “Yeah, I think that’s why it’s all coming together again in this day and age.”

Olivia Rodrigo has earned her fourth U.K. No. 1 single as “Drop Dead” hits the top spot in its opening week (April 25).

The song dethrones Sam Fender and Olivia Dean’s “Rein Me In,” which had been at the top spot for the past five weeks, and eight non-consecutive weeks in total.

“Drop Dead” is the first track from her upcoming third album, You Seem Pretty Sad for a Girl So in Love, which is due for release on June 12. The song got its live debut at Coachella last weekend where she appeared on stage with Addison Rae.

The song now joins “drivers license” (2021), “good 4 u” (2021) and “vampire” (2023) as U.K. chart-toppers. Her first two studio albums, SOUR and GUTS, hit the top spot of the Official Albums Chart.

“Rein Me In” falls just one spot to No. 2, though Dean is celebrating the start of her global The Art of Loving tour, which kicked off in Glasgow, Scotland, on Wednesday (April 23). 

Following his Coachella takeover, Justin Bieber continues to see a number of hits spiking in the U.K. “Beauty and a Beat” is up to No. 3 to give the 2012 song a new all-time peak, while 2025’s “Daises” is up 10 places to No. 5; the latter hit No. 1 upon its original release. There’s also appearances for “Baby” (No. 17) and Bieber’s Sean Kingston collaboration “Eenie Meenie” (No. 32) inside the top 40.

Tame Impala’s “Dracula” falls two places to No. 4 and there’s top 10 appearances for Alex Warren (“Fever Dream,” No. 5) and Sombr (“Homewrecker,” No. 7).

On the U.K’s Official Albums Chart, Skindred pipped Jessie Ware to the No. 1 spot with their ninth studio album, You Got This, their first to reach the summit. After a close battle throughout the week, Ware’s Superbloom finishes at No. 2 while Zayn’s Konnakol closes at No. 4.

Tributes from across Australia’s music and media sectors continue to emerge following the death of James Valentine, with artists including Jimmy Barnes and Iva Davies reflecting on his wide-ranging impact.

Valentine, a saxophonist best known for his work with Models before becoming a longtime broadcaster with the Australian Broadcasting Corporation, died at age 64 using voluntary assisted dying at home two years after a cancer diagnosis, according to ABC.

Barnes shared a tribute on social media, writing, “James and I have known each other a long time. He loved music and I heard him play the saxophone many times with the Models. He was a funny and insightful interviewer, and I will miss hearing his gentle voice on ABC radio every afternoon. RIP James. You will be missed.”

Davies, frontman of Icehouse, also shared a detailed statement reflecting on their decades-long connection. “The ICEHOUSE team and I were very saddened to hear of the passing of James Valentine yesterday,” he wrote. “We’d known James since the early ‘80s when we met him on the road with Models. He was a great musician and I asked him to play saxophone on our Code Blue album, which he did with his renowned sense of skill and joy.”

He continued, “His move to be an innovative and much loved broadcaster at Australia’s ABC radio network meant we’d cross paths regularly – he was always engaged and fun to be around with a story or anecdote to share. James will be missed by many tens of thousands, by our ICEHOUSE team and by me. We send our heartfelt condolences to his family.”

Members of INXS also paid tribute, recalling their shared history on the Australian Made tour in the mid-1980s. “We are very much saddened to hear of the passing of our old mate James Valentine,” the band wrote. “James was an incredible musician and an amazing human. Always smiling, always positive, caring and involved.”

The statement continued, “Our lives crossed paths during the ’80s and we all became mates with James on the Australian Made tour in ’86-87 when he was a member of the Models. He of course then became a member of Absent Friends with Garry for an album and live performances.”

They added, “James later had an amazing career in TV and radio and as a writer — his wit and warmth was loved by everyone. Our sincere condolences to Joanne, Ruby and Roy. Travel safe mate — we miss you.”

The responses highlight the dual nature of Valentine’s career, which spanned both music and broadcasting. As previously reported, he performed on Models’ Out of Mind, Out of Sight, which peaked at No. 84 on the Billboard 200 and produced the single “Out of Mind, Out of Sight,” a Billboard Hot 100 entry in 1986. His work as a session and touring musician extended across multiple Australian acts throughout the decade.

In later years, Valentine became a defining voice on ABC radio, hosting programs for more than three decades, including a long-running tenure on 702 ABC Sydney’s Afternoons show. His conversational style and curiosity-driven interviews helped him build a broad national audience, expanding his influence well beyond the music industry.

Additional tributes from across the industry have emphasized that crossover impact. Valentine’s ability to move between performance and broadcasting roles positioned him as a rare figure within Australia’s creative landscape — equally at home onstage and behind the microphone.

His passing also comes amid renewed recognition of his contributions. Australia’s Governor-General Sam Mostyn recently confirmed that Valentine had been appointed a Member of the Order of Australia (AM), acknowledging his service to both music and media.

For industry figures, the response to his death reflects not only his legacy as a musician, but also the enduring reach of his broadcasting career, which brought his voice into the daily lives of listeners for decades.

Valentine is survived by his wife and two children.

The Otis Redding Foundation is celebrating the one-year anniversary of its Otis Redding Center for the Arts (ORCA) this month. The momentous occasion was formally recognized with an open house (April 11), attended by Redding’s widow Zelma Redding and R.E.M. bassist/composer Mike Mills, 2025’s recipient of the Otis Redding Spirit of Community Award. In tandem with the celebration, registration for upcoming summer sessions of Otis Music Camp (June 1-20) and Camp Dream (July 20-31) was announced.

Named after the soul icon behind classics such as “(Sittin’ On) The Dock of the Bay” and “Respect,” ORCA offers music and arts programs to students ages 5-18. In addition to the aforementioned camps, the multipurpose space provides private lessons and workshops. Its curriculum covers the creative and business sides of the music industry through content creation, performance, entertainment law, engineering, graphic design and touring. The 15,000 square-foot facility also houses the O3 Recording studio and the Zelma Redding Amphitheater.

In comments emailed to Billboard, Ms. Redding explained why it’s so vital to continue paying it forward to the next generation of industry creatives and executives:

There’s something different about walking into a space that carries your family’s name — your family’s work, your family’s spirit. At the Otis Redding Center for the Arts, that feeling is everywhere. It’s not just pride — it’s responsibility. The kind you feel in your chest.

Maintaining a center like this, especially as part of the Otis Redding Foundation, is deeply personal. This isn’t just about programs or schedules. It’s about legacy. It’s about honoring the life and vision of Otis Redding — not only the music the world knows, but the man who believed in giving back, in lifting others up, and in creating opportunity where it didn’t always exist.

For our family, the arts have never been just entertainment. They’ve been a pathway to confidence, expression and possibility. So when we talk about maintaining this space, we’re really talking about protecting that pathway. Making sure a young person can walk through these doors and feel like they belong here, whether they’ve grown up around music or are just discovering it for the first time. Students finding their voice. Families finding community. Artists pouring into the next generation. That’s what turns a building into something meaningful. That’s what makes it feel alive.

Legacy doesn’t take care of itself. It requires intention, care and a willingness to keep growing. What Otis started, and what the foundation continues to build, is bigger than any one moment. For me, this work is about making sure that legacy keeps reaching forward. That it stays open, accessible and real. Because if we’re doing it right, the Otis Redding Center for the Arts won’t just reflect where we’ve been … It will help shape where we’re going.

More information about the Otis Redding Center for the Arts and its programs is available here.